9 - Loops, Markers and Regions
REAPER then "shadow splits" your selected item(s). That is to say, it indicates with a row of colored bars
exactly all of the points at which the item will be split if the parameter settings are left as they are.
You make such adjustments as you wish
to the parameter settings until satisfied
that they are right.
You tell REAPER to split the items.
Once split, each slice of the original item will be
set to the current timebase. You can set any of
the splits to any other timebase you choose.
You can use the items together or individually,
according to your needs. Suddenly you've got a
whole library of samples!
Dynamic splitting is non-destructive. This means
that your original audio files (WAV, MP3, AIF or
whatever) remain intact. Nevertheless, if you
are going to use this method to build a sample
library, it's often a good idea to work on a copy
of the original track. This just makes it easier to
go back to the original if you wish to use it to
make a fresh set of samples. Let's now take a
look at an example or two.
Splitting a Media Item into
In the examples below, a recording of a
resonator guitar is selected. We have then
chosen Item processing then Dynamic split
items from the context menu. Studying these
examples will help you to understand how the
settings work. In every case, the At transients
option should be enabled. These examples
should be sufficient to get you started. After
that, it's up to you to experiment according to your particular needs.
Only a minimal number of options are used here.
If you specify a very low minimum slice length REAPER will seek out transients with a high degree of sensitivity.
This will result in our media item being
split into a very large number of items.
This might be suitable, for example, if we
are intending to introduce tempo changes
to the song. The larger the number of
samples and the shorter their length, the
more sensitive and immediate will be the
track's response to any such changes.
Consider the two examples shown.
Notice (right) that Best to worst has
been selected as the method for
constraining slice length. This option is
likely to be preferred when splitting at
transients. Notice also that we have
specified that we want to keep the beat locations unchanged even if the tempo changes. (A further explanation
of constrain slice length methods follows immediately after these examples).
Now let's see what happens when we bring some of the other options into play.
In the case shown above right we have set a largish minimum slice length with the result that our media items
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